From one of the most celebrated novels of the Twentieth Century comes a tragic comedy of obsession - ""Lolita"" the hilarious disturbing suspenseful and profoundly moving story of a forbidden love affair and its shattering consequences. Humbert (Jeremy Irons) is a remarkable man with a poisonous wound: the indelible memory of a fated childhood love and a haunting urge to rediscover its lost passion. When he encounters Charlotte Haze (Melanie Griffith) a voluptuous widow with roma
Merchant-Ivory leave heaving corsets behind for the contemporary world of Americans in Paris in Le Divorce. The day Isabel Walker (Kate Hudson) comes to visit her pregnant sister Roxy (Naomi Watts) is the day Roxy's French husband leaves her. The divorce proceedings centre around a painting, long owned by the Walkers, that the husband's family would like to claim--but their manoeuvrings are complicated when Isabel begins an affair with a diplomat (Thierry Lhermitte) who just happens to be Roxy's uncle-in-law. At its best moments, Le Divorce has the feel of one of Woody Allen's serio-comic films like Hannah and Her Sisters, and there's a genuinely suspenseful climactic scene on the Eiffel Tower. There's also a star-studded supporting cast, including Leslie Caron, Glenn Close, Matthew Modine, Stephen Fry, Sam Waterston and Stockard Channing. --Bret Fetzer
Created by Sharon Horgan (creator and star of the Emmy®-nominated series Catastrophe), Divorce centers on Frances (Sarah Jessica Parker), who, after more than a decade of marriage and two children, has suddenly begun to reassess her life and her strained relationship with her husband Robert (Thomas Haden Church). Finding sharp, observant humor in tense situations ranging from awkward public encounters to bitter private therapy sessions, Divorce is about two people at the most difficult moment in their lives, feeling more intense emotions for each other than they've felt in years. Extra Content: Blooper Reel Deleted Scenes
Thirteen years ago on Valentine's Day two young lovers were brutally murdered at the local Lovers Lane. The killer a maniac wielding a steel hook was arrested by the police and incarcerated in a nearby state institution for the criminally insane. But the murders left a permanent mark on two families; the dead lovers were married...but not to each other. Psychiatrist Jack Grefe has devoted the last thirteen years to keeping the killer behind bars as at the time the killer (aka The Hook) was his patient. Now it's Valentine's Day again and The Hook has escaped.
Released from prison after six long years Joey Larabito does not seem the type of guy to have committed a murder. Childlike his every action speaks of innocence and kindness even among the cruel realities and grime of New York. Returning to his childhood home with a mere forty dollars in his pocket Joey hopes to stay with his brother Tommy and his wife Lorraine until he can get back on his feet. Lorraine is reluctant afraid a hardened criminal is in their midst. As the weeks go by she slowly awakens to his kind hard-working nature but realises that all is not what it seems. Joey and Tommy are headed for a collision. As the ties of childhood unravel in a tale of devotion and betrayal one brother fights for the truth the other for his life.
The Sorcerers, the second film directed by the lost "wunderkind" of British cinema Michael Reeves, may not have the scope and visceral impact of his masterpiece, Witchfinder General (1968), but there's enough fierce originality here to show what a tragic loss it was when he died from a drugs overdose aged only 24. The film also shows the effective use he made of minimal resources, working here on a derisory budget of less than £50,000--of which £11,000 went to the film's sole "named" star, Boris Karloff. Karloff plays an elderly scientist living with his devoted wife in shabby poverty in London, dreaming of the brilliant breakthrough in hypnotic technique that will restore him to fame and fortune. Seeking a guinea-pig, he hits on Mike, a disaffected young man-about-town (Ian Ogilvy, who starred in all three of Reeves' films). But the technique has an unlooked-for side effect--not only can he and his wife make Mike do their bidding, they can vicariously experience everything that he feels. At which point, it turns out that the wife has urges and desires that her husband never suspected. Karloff, then almost at the end of his long career, brings a melancholy dignity to his role; but the revelation is the veteran actress Catherine Lacey as the seemingly sweet old lady, turning terrifyingly avid and venomous as she realises her power. The portrayal of Swinging London, with its mini-skirted dollybirds thronging nightclubs where the strongest stimulant seems to be Coke rather than coke, has an almost touching innocence, but Reeves invests it with a dream-like quality, extending it into scenes of violent death in labyrinthine dark alleys. By this stage, some ten years after it started, the British horror cycle was winding down in lazy self-parody. Reeves had the exceptional talent and vision to revive it, had he only lived. On the DVD: The Sorcerers DVD has original trailers for both this film and Witchfinder General (both woefully clumsy); filmographies for Reeves, Karloff and Ogilvy; an "image gallery" (a grab-bag of posters, stills and lobby cards); detailed written production notes by horror-movie expert Kim Newman; and an excellent 25-minute documentary on Reeves, "Blood Beast", dating from 1999. The transfer is letterboxed full-width, with acceptable sound. --Philip Kemp
Andre Toulon's living puppets are back in Curse of the Puppet Master, this time in the possession of Dr. Magrew (George Peck), who runs a house of marvels and is experimenting to create the perfect being, without all the inner conflict and torment of humans. To do so, he recruits a talented young woodcarver named Tank (Josh Green). But Magrew's plans get complicated when his daughter (appealingly played by Emily Harrison) falls for the young man. Fans of the Puppet Master series will probably enjoy this sixth instalment. The three leads are well cast, the production design shows some imagination, and the script works--until the abrupt and nonsensical ending. The puppets also seem less animated than in previous films; nevertheless, they still manage to get their whacks in. Trivia factoid: director "Victoria Sloane" is one of several stage names used by David DeCoteau, who also directed instalments numbers three and seven in the series.--Geoff Miller, Amazon.com
The Sorcerers, the second film directed by the lost "wunderkind" of British cinema Michael Reeves, may not have the scope and visceral impact of his masterpiece, Witchfinder General (1968), but there's enough fierce originality here to show what a tragic loss it was when he died from a drugs overdose aged only 24. The film also shows the effective use he made of minimal resources, working here on a derisory budget of less than £50,000--of which £11,000 went to the film's sole "named" star, Boris Karloff. Karloff plays an elderly scientist living with his devoted wife in shabby poverty in London, dreaming of the brilliant breakthrough in hypnotic technique that will restore him to fame and fortune. Seeking a guinea-pig, he hits on Mike, a disaffected young man-about-town (Ian Ogilvy, who starred in all three of Reeves' films). But the technique has an unlooked-for side effect--not only can he and his wife make Mike do their bidding, they can vicariously experience everything that he feels. At which point, it turns out that the wife has urges and desires that her husband never suspected. Karloff, then almost at the end of his long career, brings a melancholy dignity to his role; but the revelation is the veteran actress Catherine Lacey as the seemingly sweet old lady, turning terrifyingly avid and venomous as she realises her power. The portrayal of Swinging London, with its mini-skirted dollybirds thronging nightclubs where the strongest stimulant seems to be Coke rather than coke, has an almost touching innocence, but Reeves invests it with a dream-like quality, extending it into scenes of violent death in labyrinthine dark alleys. By this stage, some ten years after it started, the British horror cycle was winding down in lazy self-parody. Reeves had the exceptional talent and vision to revive it, had he only lived. On the DVD: The Sorcerers DVD has original trailers for both this film and Witchfinder General (both woefully clumsy); filmographies for Reeves, Karloff and Ogilvy; an "image gallery" (a grab-bag of posters, stills and lobby cards); detailed written production notes by horror-movie expert Kim Newman; and an excellent 25-minute documentary on Reeves, "Blood Beast", dating from 1999. The transfer is letterboxed full-width, with acceptable sound. --Philip Kemp
Thirteen years ago on Valentine's Day two young lovers were brutally murdered at the local Lovers Lane. The killer a maniac wielding a steel hook was arrested by the police and incarcerated in a nearby state institution for the criminally insane.But the murders left a permanent mark on two families; the dead lovers were married....but not to each other.Psychiatrist Jack Grefe has devoted the last thirteen years to keeping the killer behind bars as at the time of the murders the killer (aka The Hook) was his patient.Now it's Valentine's Day again and 'The Hook' had escaped.
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